Gentle Voice

Friday, February 15, 2013

Once Upon a Time: The Lives of Bob Dylan

By Gerry Feb 9, 2013 in Music

I don’t think of
myself as Bob Dylan.It’s like Rimbaud
said, ‘I is another’.

- Bob Dylan,
1985

A million books
have crawled over the minutiae of Bob Dylan’s life, his words, live
performances and recordings, and I have read a fair few of them. But I do believe that Ian Bell’s Once Upon a
Time: The Lives of Bob Dylan is the best of them all. Which is surprising since Bell – former
Scottish editor of the Observer and a past winner of the Orwell Prize for
political writing – has done no original research, conducted no fresh
interviews, or been given access to record company archives.

But what Bell has
done – and supremely well – is to sift through all of the voluminous material
that the Dylan phenomena has generated over the decades – interviews,
biographies, memoirs, articles, web forum debates and bootlegs, as well as the
artist’s own words – to produce a book that is insightful, critical (indeed,
often sceptical) and analytical. Bell
places Dylan in his entire context: musical, literary, historical, and
political.

Like Theseus
entering the labyrinth, Bell holds onto a single thread to guide him through
all the myths and the self-mythologising to the truth of who Dylan is, and what
drives him: the concept that ‘Bob Dylan’ is an ‘an elaborate piece of hokum’
created by the man himself, an identity that has remade itself time after time.

Though Bell’s
book is broadly chronological, its narrative is more spiralling than linear, a
series of overlapping chapters that circle around a crucial question or turning
point in Dylan’s development. Bell will
worry away at a question, often returning to it again and again, probing,
peeling away the myths and Dylan’s own obfuscations. Does he arrive at a conclusive answer to the
riddle of Bob Dylan? No: but it makes
for a gripping read.

If, that is, the
Dylan enigma is an issue that has you in its thrall. Which is certainly true in my case. Although
for some time now I’ve found too many of his lyrics unattractively imbued with
an Old Testament judgementalism and his voice shot to ribbons, Dylan
contributed too much to the process by which my politics, my outlook on the
world, and my love of music were formed for me to leave it alone. I was one of that generation for which Dylan
– in one of the identity shifts probed by Bell – ultimately refused to act as a
leader or spokesman.

Press
conference, 1969: What is your position on politics and music?

Dylan: My job is
to play music. I think I’ve ­answered enough questions.

Bell begins by
probing the puzzle of why a boy from a middle class, Jewish home in the
mid-west lied about his background, erasing his family and denying his real
name – even to his first serious love, Suze Rotolo. As Bell notes, many pop stars in those days
chose to perform with a different stage name, but Robert Zimmerman was alone in
changing his name to Bob Dylan legally.
It was, in Bell’s view,’a deliberate act of self-destruction…not some
showbiz career strategy. Who does that?’

Dylan became
estranged from his parents: it happens.
He ran a little wild and faltered at school: it happens. He was at odds with his father: that happens
too. He came to deny his faith and his
origins: that certainly happens. Then he
quit town as soon as he could: many did in those days …

But the plot
goes awry. Dylan changes his name
legally, and pretends his parents are dead.
He denies that he was ever ‘really’ Jewish despite his Zionist camp
experiences, and in time turns to thunderous, born-again Christianity.
Meanwhile, he persists in rejecting any possibility of an emotional connection
with the town in which he was raised, or with his own ancestry. He tells tales, year after year, that don’t
add up.

Bell offers the
thought that Dylan’s self-mythologising is inseparable from his creativity:

Whatever his
originality, this is a man who has existed within a cliché since he first
attempted to write a song: his art is his life. It is, profoundly, who he is.
Dylan doesn’t control the art; the art controls ‘Bob Dylan’, and remakes him
time after time.

Then there’s the
question of Dylan’s repeated veering from one kind of music to another – the
issue that divided and enraged fans in the sixties when he abruptly abandoned
folk music and protest barely two years after transforming the scene. Perceptively, Bell argues that Dylan is an
avant-garde conservative:

First the
embrace of the new, then the retreat into older traditions. The cycle repeats and repeats. First Hank Williams and Jimmie Rodgers, then
rock and roll; next ancient folk ballads, then ‘Like a Rolling Stone’; next the
inventory of a basement full of antique noises and a country idyll, then
religious fads and a glib superstar’s decadence and decay; next a return to the
oldest blues of all, like an immersion in a deep, cold stream, as the preface
to another – final? – summation.

Dylan arrived in
New York in 1961 a college dropout with limited musical abilities. But what Bell reveals, time and time again,
is how fast Dylan learnt, absorbing musical, political and literary influences
like a sponge, at breathtaking speed.
For example, how within months of turning up for the first time in New
York’s folk clubs, he had created the myth of ‘Bob Dylan’ to become the living
embodiment of folk:

Mimicry, theft,
admiration yielding to sincere imitation, obsession, the immersion in the past:
all of these will play their parts in transforming Bobby Zimmerman from Duluth,
Minn., who has never done a day’s manual labour in his life, or seen hard
times, or marched out on strike, or ridden on a freight car’s stinking boards,
or prayed to a Christian God, or lived beneath Jim Crow laws into the supposed
embodiment of folk.

Mind you, Bell
is pretty scathing about the rest of a folk scene that patronised black
culture, rendering it white, and decided that ‘rural folk were somehow
culturally pure because – let’s not beat around the undergrowth – they didn’t
know shit’. That leads Bell on to some
pretty interesting ruminations on the Stalinist features of the ‘authentic’
folk scene either side of the Atlantic, whose attitudes he likens to ‘a Monty
Python sketch involving a less-amusing wing of the Judean People’s Front’. On
the 1966 tour of England, when Dylan went electric and encountered the cry of
‘Judas’, it was Stalinist members of the Communist Party of Great Britain, who
couldn’t abide electricity or free thought, who organised some of the
barracking.

My eyes collide
head-on with stuffed

Graveyards,
false gods, I scuff

At pettiness
which plays so rough

Walk upside-down
inside handcuffs

Kick my legs to
crash it off

Say okay, I have
had enough, what else can you show me?

Why did Dylan
abandon ‘protest’? In the end, says
Bell, it came down to this: ‘what use are songs of freedom if there is no
artistic freedom? And anyway, he didn’t. He just came up with a radical new type of
political lyric: listen to ‘It’s Alright Ma’ and believe it.

Although the
masters make the rules

For the wise men
and the fools

I got nothing,
Ma, to live up to

For them that
must obey authority

That they do not
respect in any degree

Who despise
their jobs, their destinies

Speak jealously
of them that are free

Cultivate their
flowers to be

Nothing more
than something they invest in …

Old lady judges
watch people in pairs

Limited in sex,
they dare

To push fake
morals, insult and stare

While money
doesn’t talk, it swears

Obscenity, who
really cares

Propaganda, all
is phony

As Bell remarks,
this was all about Dylan reaching certain conclusions about the purposes of
song and an individual’s relationship to art.
‘No proof exists’, he writes, ‘that Dylan ever felt under much pressure
to write or record in any manner not of his choosing.

It would have
been too easy to stick with protest and tradition. But that would have meant a lifetime stating
the obvious. … Dylan wasn’t made that way.

As to politics,
he did have one gift. If he understood
anything, he understood the art of lying.
Again and again, those protest songs return to truth and lies. Dylan could spot deceit at a hundred paces,
catch it in the tone of a voice, decipher it in slogans, body language and the
speeches of the self-advertising political types. He knew phoney by its sound and smell.That,
as much as lyric power, was his weapon.
He was an expert on lies, after all.

Throughout this
book – the first part of a two volume analysis of Dylan’s trajectory – Ian Bell
writes incisively about the changes that Dylan was going through. But he is excellent, too, at colouring in the
background of the changes taking place in American society, and exploring the
sources in music, books, poetry and film that might have influenced Dylan in
his twenties. He’s good at probing (with
reference to the album The Times They Are A-Changin’) a question such as: ‘What
is a protest song? What is its purpose
and how does it function?’

He also gives
the best account I’ve read of Dylan’s poetic technique in that miraculous 12
month period when three historic albums – Bringing It All Back Home, Highway 61
Revisited and Blonde on Blonde – poured from him (and by the way, he does spend
some time on the question as to whether Dylan’s lyrics, printed on the page, do
stack up as poetry. His answer: only
occasionally).

Highway 61 in
Bell’s view (and he’s not alone) reinvented popular song. It was the album
where Dylan became ‘a voice without restraint’.
Here was where Dylan learnt that ‘a song wouldn’t necessarily collapse
if the usual props were kicked away’: where he hacked through the ‘twenty pages
of vomit’ (Dylan’s words) to get to the four long verses of ‘Like A Rolling
Stone’:

What truly
happens in this song, and in all the other songs of Highway 61, is a stripping
away of material without regard to narrative.
The usual connective matter is discarded; it ceases to signify. Not once does a song or an image explain
itself. .. When the set reaches its end, with ‘Desolation Row’, the idea of a
coherent narrative, of the traditional song that commences with some version of
‘Once upon a time’, has been shattered. Dylan had learned that he didn’t need
the oldest storytelling ‘ordinance’ of them all in order to make sense. To make his kind of sense, at any rate.

Later, when
discussing ‘Visions of Johanna’ off Blonde on Blonde, Bell argues that the song
has more to it than visions induced by heroin.
We never truly discover what these visions contain.

Ain’t it just
like the night to play tricks when you’re tryin’ to be so quiet?

We sit here
stranded, though we’re all doin’ our best to deny it

And Louise holds
a handful of rain, temptin’ you to defy it

Lights flicker
from the opposite loft

In this room the
heat pipes just cough

The country
music station plays soft

But there’s
nothing, really nothing to turn off

Just Louise and
her lover so entwined

And these
visions of Johanna that conquer my mind …

Inside the
museums, Infinity goes up on trial

Voices echo this
is what salvation must be like after a while

But Mona Lisa
musta had the highway blues

You can tell by
the way she smiles

See the
primitive wallflower freeze

When the
jelly-faced women all sneeze

Hear the one
with the moustache say, “Jeeze

I can’t find my
knees”

Oh, jewels and
binoculars hang from the head of the mule

But these
visions of Johanna, they make it all seem so cruel

Dylan had
mastered, argues Bell, the technique which Ezra Pound had applied when cutting
half the lines from TS Eliot’s Waste Land at the start of the 1920s: sections
meant to link and ‘explain’ things were removed, one after the other, to reveal
themes and ideas that might otherwise have been hidden. ‘Dylan’, Bell asserts, ‘achieved Pound’s
editorial insights unaided’. It was, as
Allen Ginsberg wrote in tribute in ‘Wichita Vortex Sutra’, ‘Language, language,
and sweet music too….’.

Bell’s narrative
reaches some kind of climax (unavoidable, really) as he assesses the scale of
Dylan’s achievement in that astonishing period between January 1965 and March
1966 – between the last session for Bringing It All Back Home and the final
notes of ‘I Want You’ recorded at dawn on 10 March 1966. Then it’s pell-mell into the ordeal of the 1966
tour that ‘scorched Dylan’s soul’ and ‘ended him, in this incarnation, once and
for all’:

When this
carnival train was derailed, he would be forced to become another person. This is not, or not necessarily,
hyperbole. He would have to build a new
Bob Dylan from scratch.

Repeatedly, Bell
comes up with a turn of phrase that nails circumstance. The idea that malcontents would heckle a man
for using an amplified guitar was ‘akin to telling Picasso that he was using
filthy capitalist brushes. A movement
dedicated to liberty was unforgiving’.
There is an intensity to Bell’s account of this period that matches the
crazed events of that tour: the Judas! shout (Bell has already shifted his
reading of that mythical night in Manchester to the book’s opening), the drugs,
bursts of intense creative activity, the exhaustion.

Judas! That was
the shout in the darkness. To this day, the insult seems infantile. There were
plenty of other singers in the world ready to accept adoration, after all. Yet
here was evidence, beyond doubt, of the great virtue and the abiding affliction
of the times: music truly mattered.

The argument
over art, the individual and political liberty isn’t new. What was new in
Dylan’s case, and in the twentieth century, was the idea that the artist could
somehow belong to the audience, become a possession. So the supreme irony here
was overlooked by those who heckled this guitar player and called themselves
left-wing: they were treating him as a commodity. [...]

Everything
ended. His music would never be the same again, and nor would he: that cliché
will serve. He would tell people as much for years to come: it was less a case
of what he wouldn’t do as what he couldn’t do. For one thing, he could no
longer write the words to shape that wild mercury sound. The three albums and
the hellish tour had been unique, in the proper sense of being both emotionally
and artistically unrepeatable. Anyone who henceforth wanted ‘the old Dylan’
would be out of luck. He was gone.

After this, the
story can never be quite so enthralling.
There is the blessed release of the motorcycle accident and the retreat
with The Band to the basement in Woodstock, where, in the summer of love, he
embarked on a Lewis and Clark expedition through the past of his own land, its
myths and culture. Bell is rightly impressed
with the jewels that emerged from The Basement Tapes, is deeply unimpressed by
pitifully truncated Nashville Skyline, but makes larger claims – inexplicably
in my view – for Self Portrait, New Morning and Dylan before rounding off this
volume with a rather cursory account of the ‘comeback’ albums, Planet Waves and
Blood on the Tracks.

All the while,
Bell is tugging on that thread: the question of who Bob Dylan really was. This was a time, Bell asserts, when Dylan
‘did not want to go on being Bob Dylan’. Or, at least, that Bob Dylan.

He had become a
burden to himself. To begin anew is one
thing: many people make the attempt. The
point here is that Dylan’s art has everything to do with the way he understands
himself at a given moment in time. His
writing is his response to a deep problem of identity.

Christopher Bray
reviewing Bell’s book in the FT was full of praise:

As its title
hints, Once Upon a Time tells a familiar story. But Bell, a past winner of the
Orwell Prize for political writing, tells it in an unfamiliar way – with a coruscating
intelligence and historical sweep not often found in books about rock
musicians. He writes beautifully, too, in rhythmic, at times incantatory,
prose. In short, this is the best Dylan biography yet – an imagined reliving of
an already imaginary life, and a book to sit alongside Ellmann on Wilde,
Richardson on Picasso, Ackroyd on Dickens.

That would be my
assessment, too. Bell offers plenty to savour, and think about, too. For myself, I was pleased to be re-acquainted
with this classic example of the take-no-prisoners Dylan style that was an
inspiration back in the sixties. It’s
from an interview with Playboy magazine in March 1966:

Playboy: Mistake
or not, what made you decide to go the rock and roll route?

Dylan:
Carelessness. I lost my one true love. I started drinking. The first thing I
know, I’m in a card game. Then I’m in a crap game. I wake up in a pool hall.
Then this big Mexican lady drags me off the table, takes me to Philadelphia.
She leaves me alone in her house, and it burns down. I wind up in Phoenix. I
get a job as a Chinaman. I start working in a dime store, and move in with a 13
year-old girl. Then this big Mexican lady from Philadelphia comes in and burns
the house down. I go down to Dallas. I get a job as a ‘before’ in a Charles
Atlas ‘before and after’ ad. I move in with a delivery boy who can cook
fantastic chilli and hot dogs. Then this 13-year-old girl from Phoenix comes
and burns the house down. The delivery boy he ain’t so mild: He gives her the
knife, and the next thing I know I’m in Omaha. It’s so cold there, by this time
I’m robbing my own bicycles and frying my own fish. I stumble onto some luck
and get a job as a carburettor out at the hot-rod races every Thursday night. I
move in with a high school teacher who also does a little plumbing on the side,
who ain’t much to look at, but who’s built a special kind of refrigerator that
can turn newspaper into lettuce. Everything’s going good until that delivery
boy shows up and tries to knife me. Needless to say, he burned the house down,
and I hit the road. The first guy that picked me up asked me if I wanted to be
a star. What could I say?

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